A Quote by Sonoya Mizuno

I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany. — © Sonoya Mizuno
I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
I've been with Semperoper Ballet in Dresden, Germany, for five years - I wanted to escape the competitive dance world and go somewhere where I felt appreciated for my talents. Stateside, it was always kind of a struggle. And the competition? Not into it.
I was probably around 14 or 15 when I became really conscious of those girls who were going on to the Royal Ballet school, and that I was not Royal Ballet school material, not by a long stretch.
I joined the Royal Ballet School when I was 13. Before then, I'd done ballet twice a week after school. The rest of my class had started aged 11, so I'd missed two years and was really far behind.
One of the few things in dance to match the Royal Ballet's curtain calls is the Royal Ballet's dancing.
Fonteyn was our first proper British ballerina, and from the moment I started dancing, her image engulfed me. In my first year at the Royal Ballet School, Margot's statue was outside my dormitory. Like generations of budding ballet dancers before me, I used to touch her middle finger for luck.
I'm a classical ballet dancer, and at the end of the day I want to be with American Ballet Theater, performing classical ballets.
My Mom is a ballet director, so I had this idea in me that classical training is the best foundation for anything you do, so I wanted to get a classical background and voice.
I actually quit ballet when I was offered a job, an apprenticeship at North Carolina Dance Theater Company, run by John Pierre Bonnefoux and Patricia McBride, who are my idols. Everything sort of went perfectly. I was 16, and I was about to drop out of high school and become a professional ballet dancer.
I dreamt of becoming a ballet dancer. I studied with the Royal Academy of London for 11 years, and that did not pan out, but my love for being on stage was born there. And then, I actually went to drama school in Paris, France. That's where it first started.
Being one of the few African American women to make it to this level in a classical ballet company, the level of American Ballet Theatre, takes a lot of perseverance.
In the Royal Ballet Company, there was a Japanese principal dancer, and onstage and in ballet, they have colorblind castings - so I did see Asian dancers, and they were always my favorite. When you have someone who looks like you, it's something you can kind of grab onto, and it makes you feel better about your place in the world.
I knew I wanted to be a ballet dancer, but what kind, I wasn't sure. My two dream companies had been New York City Ballet and American Ballet Theater.
When I was 8, I began to study ballet. In seventh grade, my mother took me into New York to study at the School of American Ballet. I loved ballet - its precision, the escape from uncertainty, and the music.
The moment the curtain rose on that first ballet, I knew something wonderful and new had come into my life. I can still see the first scene. The ballet was Divertimento No. 15.
The moment the curtain rose on that first ballet, I knew something wonderful and new had come into my life. I can still see the first scene. The ballet was Divertimento No. 15
I think American Ballet Theatre is setting that standard now for classical ballet, that you can dream big, and it doesn't matter what you look like, where you come from, what your background is.
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